132 Bettina Kaibach
and Garrard, The Bones of Berdichev, pp. 258–262, and Alice Stone Nakhimovsky,
Russian-Jewish Literature and Identity: Jabotinsky, Babel, Grossman, Galich, Roziner,
Markish (Baltimore; London: John Hopkins UP, 1992), pp. 114–118).
8. Rosalind J. Marsh, Soviet Fiction Since Stalin: Science, Politics and Literature (London;
Sidney: Croom Helm, 1986,) p. 195. Research on the Soviet literary treatment of
nuclear science and nuclear weapons in particular is astonishingly scant, given the
importance of “nuclear culture” ( Josephson, Atomic-Powered Communism) in the
Soviet Union. Thus far, there is no comprehensive study on the topic. One can,
however, assume that an analysis of exemplary texts will render a reliable picture
of the situation, since, as Rosalind Marsh stated in her monograph on Soviet Fiction
Since Stalin, due to the fact that “the subject […] was intimately connected with
military and foreign policy, and a special military censorship vetted all literary
references to nuclear research, Soviet writers on this theme adhere[d] closely to the
party line” (Marsh, Soviet Fiction, p. 195).
9. Cf. Marsh, Soviet Fiction, p. 196.
10. For the condemnation of pacifism by Soviet cultural authorities, see Marsh, Soviet
Fiction, p. 197f. Nuclear technology as Soviet panacea for all kinds of economic
woes is discussed in Josephson, 1996. With respect to the depiction of nuclear war
scenarios, Vladimir Gakov and Paul Brians point out that while the Soviet audience was familiar with Western nuclear Armageddon fiction and films, “it was felt
by many authorities that the ‘social optimism’ traditionally associated with Soviet
writers should make them shun such nightmare visions of the future. Depicting a
nuclear war as possible or probable was viewed as a sort of defeatism” (V. Gakov,
and P. Brians, “Nuclear-War Themes in Soviet Science Fiction: An Annotated
Bibliography,” Science Fiction Studies, 16, 1 (Mar. 1989): p. 68).
11. Gakov and Brians, “Nuclear-War Themes,” p. 68f.
12. For Vasilii Grossman and the Shoah, see Bettina Kaibach, “Abel, Abel, Where Is
Your Brother Cain? Vasilii Grossman on Auschwitz and Hiroshima,” in Images
of Rupture in Civilization between East and West: The Iconography of Auschwitz and
Hiroshima in Eastern European Arts and Media, eds. Urs Heftrich, Robert Jacobs,
Bettina Kaibach, and Karoline Thaidigsmann (Heidelberg: Universitätsverlag Winter, 2016), pp. 187–216; Bettina Kaibach, “Zweierlei Schweigen: Zur
Holocaustliteratur im Westen und der Sowjetunion (Plath, Grossman, Evtušenko,
Kuznecov, Rybakov),” in Die Slaven und Europa, eds. Gerhard Ressel and Henrieke
Stahl (Frankfurt a.M.: Peter Lang, 2008), pp. 161–180; Maxim D. Shrayer, “Bearing Witness: The War, the Shoah and the Legacy of Vasily Grossman,” Jewish
Quarterly, 217 (Spring 2011): pp. 114–119; and Garrard and Garrard, The Bones of
Berdichev, for his anti-ideological stance see Kaibach, “Abel.”
13. Stanislav Savitsky, The Official and the Unofficial in Soviet Culture 1950–80, 2005, p. 1
(http://www.helsinki.fi/hum/slav/mosaiikki/en2/ss2_en.htm; retrieved August 17,
2019).
14. Cf. Marsh, Soviet Fiction, pp. 195–196.
15. On the production of a Soviet atomic bomb, see David Holloway, Stalin and the
Bomb. The Soviet Union and Atomic Energy, 1939–1956 (New Haven: Yale UP, 1994),
chps. 11 and 12.
16. Christoph Garstka, “The Politicization of the Bomb in Post-war Soviet Poetry,” in
Images of Rupture in Civilization between East and West: The Iconography of Auschwitz
and Hiroshima in Eastern European Arts and Media, eds. Urs Heftrich, Robert Jacobs,
Bettina Kaibach, and Karoline Thaidigsmann (Heidelberg: Universitätsverlag Winter,
2016), p. 222.
17. Garstka, “The Politicization,” p. 224.
18. Cf. Garstka, “The Politicization,” pp. 223–224.
19. Arkadii Kuleshov, “Slovo k ob edinennym natsiiam,” Novyi mir, 4 (1948): p. 81.
and Garrard, The Bones of Berdichev, pp. 258–262, and Alice Stone Nakhimovsky,
Russian-Jewish Literature and Identity: Jabotinsky, Babel, Grossman, Galich, Roziner,
Markish (Baltimore; London: John Hopkins UP, 1992), pp. 114–118).
8. Rosalind J. Marsh, Soviet Fiction Since Stalin: Science, Politics and Literature (London;
Sidney: Croom Helm, 1986,) p. 195. Research on the Soviet literary treatment of
nuclear science and nuclear weapons in particular is astonishingly scant, given the
importance of “nuclear culture” ( Josephson, Atomic-Powered Communism) in the
Soviet Union. Thus far, there is no comprehensive study on the topic. One can,
however, assume that an analysis of exemplary texts will render a reliable picture
of the situation, since, as Rosalind Marsh stated in her monograph on Soviet Fiction
Since Stalin, due to the fact that “the subject […] was intimately connected with
military and foreign policy, and a special military censorship vetted all literary
references to nuclear research, Soviet writers on this theme adhere[d] closely to the
party line” (Marsh, Soviet Fiction, p. 195).
9. Cf. Marsh, Soviet Fiction, p. 196.
10. For the condemnation of pacifism by Soviet cultural authorities, see Marsh, Soviet
Fiction, p. 197f. Nuclear technology as Soviet panacea for all kinds of economic
woes is discussed in Josephson, 1996. With respect to the depiction of nuclear war
scenarios, Vladimir Gakov and Paul Brians point out that while the Soviet audience was familiar with Western nuclear Armageddon fiction and films, “it was felt
by many authorities that the ‘social optimism’ traditionally associated with Soviet
writers should make them shun such nightmare visions of the future. Depicting a
nuclear war as possible or probable was viewed as a sort of defeatism” (V. Gakov,
and P. Brians, “Nuclear-War Themes in Soviet Science Fiction: An Annotated
Bibliography,” Science Fiction Studies, 16, 1 (Mar. 1989): p. 68).
11. Gakov and Brians, “Nuclear-War Themes,” p. 68f.
12. For Vasilii Grossman and the Shoah, see Bettina Kaibach, “Abel, Abel, Where Is
Your Brother Cain? Vasilii Grossman on Auschwitz and Hiroshima,” in Images
of Rupture in Civilization between East and West: The Iconography of Auschwitz and
Hiroshima in Eastern European Arts and Media, eds. Urs Heftrich, Robert Jacobs,
Bettina Kaibach, and Karoline Thaidigsmann (Heidelberg: Universitätsverlag Winter, 2016), pp. 187–216; Bettina Kaibach, “Zweierlei Schweigen: Zur
Holocaustliteratur im Westen und der Sowjetunion (Plath, Grossman, Evtušenko,
Kuznecov, Rybakov),” in Die Slaven und Europa, eds. Gerhard Ressel and Henrieke
Stahl (Frankfurt a.M.: Peter Lang, 2008), pp. 161–180; Maxim D. Shrayer, “Bearing Witness: The War, the Shoah and the Legacy of Vasily Grossman,” Jewish
Quarterly, 217 (Spring 2011): pp. 114–119; and Garrard and Garrard, The Bones of
Berdichev, for his anti-ideological stance see Kaibach, “Abel.”
13. Stanislav Savitsky, The Official and the Unofficial in Soviet Culture 1950–80, 2005, p. 1
(http://www.helsinki.fi/hum/slav/mosaiikki/en2/ss2_en.htm; retrieved August 17,
2019).
14. Cf. Marsh, Soviet Fiction, pp. 195–196.
15. On the production of a Soviet atomic bomb, see David Holloway, Stalin and the
Bomb. The Soviet Union and Atomic Energy, 1939–1956 (New Haven: Yale UP, 1994),
chps. 11 and 12.
16. Christoph Garstka, “The Politicization of the Bomb in Post-war Soviet Poetry,” in
Images of Rupture in Civilization between East and West: The Iconography of Auschwitz
and Hiroshima in Eastern European Arts and Media, eds. Urs Heftrich, Robert Jacobs,
Bettina Kaibach, and Karoline Thaidigsmann (Heidelberg: Universitätsverlag Winter,
2016), p. 222.
17. Garstka, “The Politicization,” p. 224.
18. Cf. Garstka, “The Politicization,” pp. 223–224.
19. Arkadii Kuleshov, “Slovo k ob edinennym natsiiam,” Novyi mir, 4 (1948): p. 81.